Rooms of Experience - Act 1

Summary

Table Read – "Rooms of Experience: Act 1"

Podcast: Table Read by iHeartPodcasts
Episode Date: July 14, 2026
Writer: Stephanie Summers
Producers: Jack Levy, Shaan Sharma, and Mark Knell (Manifest Media)

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Episode Overview

This episode of Table Read ushers listeners into a powerful, immersive audio experience, blending the talents of top Hollywood actors and cinematic sound design to bring the emotionally charged screenplay "Rooms of Experience: Act 1" to life. The story centers on Ada Wells, an elderly mother facing prosecution after the death of her autistic adult son, Teddy, unraveling questions of care, sacrifice, and societal attitudes towards disability and aging. The episode balances gripping legal drama, personal narratives, and ethical dilemmas, enhanced by evocative performances and a film-quality soundscape.

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Key Discussion Points and Story Beats

1. Flashbacks and Emotional Setup

(02:47 – 06:14)

• Dana's Past: The story opens with Dana, a young woman outside a children's hospital, painfully detached from her surroundings and weighed down by stress, setting a tone of unresolved trauma.
• Present-Day Dana: Now an Assistant District Attorney (ADA), Dana is fiercely controlled and ambitious, her past mirrored in the daily acts of compartmentalization.
• The Inciting Incident: Across town, 89-year-old Ada Wells releases a yellow balloon into the night, a gesture of ritualistic love for her son Teddy. Moments later, Ada reports Teddy’s death to 911, launching the central conflict.

2. The Investigation and Unraveling of Family Dynamics

(06:14 – 14:48)

• Crime Scene: Detective Curtis and a CSI team examine Teddy’s bedroom, surrounded by abstract drawings and a tank of helium—a likely suicide at first glance, but questions linger.
  • Detective Curtis: “Suicide probably.” (10:03)
  • CSI: “Tank of helium, popular with the final exit crowd. The artwork is a bit curious though.” (10:05)
• Ada’s Story: Under Detective Curtis’s inquiry, Ada’s responses are stoic but reveal profound isolation and loss.
• Reversal by the Neighbor: Gina Gordon, a lifelong neighbor, corrects the detective’s assumptions, explaining, “Teddy’s not taking care of Ada. Ada takes care of him… He has autism.” (11:58)
• Confession: In an emotionally fraught interview, Ada quietly admits to assisting her son’s death, citing mercy and the unbearable prospect of him suffering if left alone.
  • Ada Wells: “I knew what I was doing… I wanted his last day to be with me. At home. Peaceful.” (14:41–14:54)

3. Legal and Ethical Showdowns

(15:51 – 28:17)

• Prosecution Assigned: Dana is assigned Ada’s case, chosen for optics more than experience:
  • Harvey Davis: “A female prosecutor sits better on this one. The defendant’s 89 years old. We don’t want to look completely heartless. That leaves you.” (21:16)
• Defense’s Stand: Ada’s lawyer, Alexis Martinez, critiques the handling of Ada’s confession and challenges Dana to view Ada’s life firsthand.
  • Alexis Martinez: “She’s not a murderer, Dana. Look around this house. Books, vitamins, exercise equipment. She did everything she could to make sure she would always be here to take care of him.” (25:38)
• Home Movies—The Heart of the Matter: Moving, grainy home footage shows Ada’s lifelong struggle to care for her severely autistic son.
  • Alexis: “Can you imagine trying to cope with this all alone, all but cut off from the rest of society…?” (26:50–27:09)

4. Personal Toll and Interpersonal Dynamics

(28:17 – 32:35)

• Impact on Dana: These events deeply affect Dana, triggering an internal conflict between her professional façade and personal empathy. She is shown restlessly researching disabilities and distancing herself even from her boyfriend.
• Courtroom Proceedings: Ada pleads not guilty; bail is contested but ultimately she is released into Gina’s care with an upcoming preliminary hearing.
  • Judge: “Defendant is released to the custody of Ms. Gordon. Preliminary hearing is set for Monday, May 11…” (33:35–33:41)

5. Themes of Guilt, Sacrifice, and Social Judgment

(34:17 – 43:08)

• Grief and Reflection: Ada visits Teddy’s grave, supported by Gina and Alexis. She’s frail, lost, and uncertain about her own future without Teddy.
• Ethical Dilemmas: Gina and Alexis debate what society owes to caregivers and the disabled, echoing generational and cultural shifts in attitudes toward disability and care.
• Legal Strategy: Alexis urges Dana to show compassion and consider a deal, referencing how institutional and social failures compound individual tragedies.
  • Alexis: “It goes deeper than just winning this case, doesn’t it? I recognize it. That need for approval. This office won’t help with that. Harvey has a way of making you feel like you’re not quite measuring up…” (39:11–39:25)
• Dana's Conflict: Dana, known for her black-and-white views, is cautioned by her boss Harvey not to lose her objectivity:
  • Harvey Davis: “Because you’re black or white. There’s no middle ground with you. No shades of gray.” (42:27)

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Notable Quotes & Memorable Moments

• Ada’s Mercy:
  • “I didn’t want him to suffer.” — Ada Wells (15:11)
• Defense’s Compassion:
  • “Drop the charges. She’s been through enough. Prosecuting this woman does not serve anyone.” — Alexis Martinez (27:27)
• Societal Critique:
  • “Disability rights forefront of murder case.” — News headline (21:07)
• Empathy vs. Justice:
  • “Justice. Put yourself where she’s been for even a moment. Imagine this was your life. Imagine he was your child.” — Alexis Martinez (27:39)
• On Caregiving Alone:
  • “She barely even recognizes the outside world anymore. Do you have any idea of the unrelenting stress she must have experienced every single day of her life?” — Alexis Martinez (27:11)
• Ambiguous Hero:
  • “No deal. Dana that’s what they call you. Did you know that?” — Harvey Davis (42:27)

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Timestamps for Important Segments

• Introduction of Main Characters and Tone: 02:38–06:14
• Crime Scene & Investigation: 06:14–10:51
• Ada’s Confession: 14:41–15:21
• Prosecutor Assignment/Legal Strategy: 19:22–22:00
• Defense’s POV and Ada’s Life: 25:13–27:27
• Personal Impact on Dana: 28:17–29:59
• Courtroom Bail Hearing: 32:35–33:41
• Funeral and Aftermath: 34:23–37:17
• Final Office Confrontations: 38:12–43:08

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Tone and Style

The narrative is heavy with atmosphere—intentional, spare dialog interspersed with immersive sound, punctuated by moments of silence or ambient noise that deepen the emotional weight. The performances highlight the exhaustion, compassion, and internal struggle of caregiving and prosecution alike, while legal and ethical tensions are brought to the fore with wit and unflinching realism.

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Summary Takeaways

• Empathy vs. Legal Duty: The story deftly explores whether legal justice can encompass acts done from love and desperation, raising questions about how society and the law treat its most vulnerable.
• Caregiver Isolation: Through flashbacks and present-day anguish, Ada’s world underscores the emotional and logistical burdens of lifelong caregiving with little support.
• Societal Values on Disability: The pending trial becomes a lightning rod for public debates on disability rights, the dignity of life, and the responsibilities of the justice system.
• Female Agency and Professional Pressure: Both Dana and Alexis navigate professional and gendered pressures, challenging each other to reconsider definitions of justice, compassion, and personal worth.

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Closing Thoughts

Act 1 closes on a cliffhanger: Ada’s health is fragile, Dana’s resolve is shaken, and the looming trial threatens to expose not just the facts, but deep societal wounds. Listeners are left with urgent, lingering questions—about choice, compassion, and the price of adhering strictly to the letter of the law.

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(End of Act 1. "Act 2" is teased for the next episode.)

Transcript

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[Narrator]

Table Read Rooms of Experience. Now let's do it with a little pretend like you're excited that you're here on a Saturday.

[Gina Gordon]

Here we go.

[Narrator]

1, 2, 3. Table read rooms of Experience thank you. Rooms of Experience By Stephanie Summers FADE IN EXTERIOR children's HOSPITAL DAY Flashback eight years prior People stride in and out through the automatic doors of the brightly colored building on a sunny spring day. Graceful willows line the walk. Dana, 30, attractive, long hair tied back and a loose, messy braid, dressed simply in jeans and a T shirt, walks a few feet out of the doors, stops mid step, her face tight with stress. People stream past her, around her. A nurse pushes a wheelchair with a woman and her newborn towards a car waiting at the curb. A man beams alongside. As they pass Dana, a tiny pink and blue hat falls on the ground in front of her. Her gaze lands on the hat. She breathes heavy. Something weighs on her, then walks faster toward the parking lot, the hat left abandoned on the cement. EXTERIOR PARKING LOT DAY Dana reaches her car, grabs the door handle. A sob almost escapes her lips, but she fights it back, wrenches the door open, gets in the driver's seat. Fade 2 Interior Dana's car moving. PRESENT DAY Dana, impeccably dressed, expertly made up, hair in a tight bun, drives down a crowded city street. Wiper blades thump away rain from her windshield. Turns into a parking garage, deftly parks in her spot, exits the car. A chirp of the alarm. Her heels click on the cement, her action smooth and controlled. INTERIOR OFFICE of the District Attorney DAY Dana enters from the street, drops a wet umbrella and a stand by the door, heads down the hall. INTERIOR Dana's office DAY Dana opens the door which reads DANA Jeffries, Assistant District Attorney, Homicide. Hangs her purse on a coat rack in the corner, takes a seat at her desk, grabs mail from her inbox, sifts through the mail, gets to a baby blue envelope, stops, stares at it, runs her finger over the handwriting on the front, contemplates the letter opener on her desk. Her desk phone rings, startles her. She opens a bottom desk drawer, throws the envelope on top of several other envelopes in the same color with the same handwriting, reaches for the phone. Exterior Ada's backyard night Ada, elderly, close to 90 but trim and well put together, stands on the lawn in the dark, illuminated by a small shaft of light from a bulb above the sliding glass door to the house. She holds a yellow balloon gently to her chest. There is the rumble of thunder in the distance. She closes her eyes and opens her arms, lets the balloon float up into the night sky. Opens her eyes and looks up, watches the balloon disappear, then turns and goes inside. Drops of rain fall on the cement. EXTERIOR RESIDENTIAL STREET Night Drops of rain beat against the Asphalt reflect the street lights. The click of a phone being answered. 911 operator, where is your emergency? Silence.

[Gina Gordon]

Hello?

[Narrator]

911, is anyone there?

[Ada Wells]

I My son is dead.

[Narrator]

The wail of a siren heard in the distance. Exterior ada's house Night A coroner's van approaches, stops in front. An ambulance and two police cars, lights flashing, are already on the scene. This is a well kept but older middle class suburban neighborhood. All of the homes appear to have been renovated or upgraded except for this one. It appears frozen in time. The front door is open. Lights ablaze against the night sky. Officers move about. Neighbors peer out their windows. Some step out on porches to see what's going on. Interior Ada's house bedroom. Night. The body of a man, Teddy, 60s, dressed in pajamas, lies dead on the bed in a sparsely furnished room. Nothing in the room looks out of order or unusual except that every inch of wall space is tacked with abstract drawings. There's a folded cloth and a length of plastic tubing on a nightstand. A tank of helium stands next to it. CSI1 takes pictures while CSI2 catalogs evidence. Detective Curtis, 50s, pokes his head in, looks at the drawings.

[Detective Curtis]

Quite the art collection. How's it going?

[CSI Technician]

Just finishing up.

[Narrator]

The detective nods. Interior ADA's living room. Night. All the furniture is 50 or 60 years old with the exception of a laptop computer on a small desk in the corner. The walls are covered in shelves filled with hundreds of neatly arranged books. Detective Curtis enters from the hall, surveys the room, steps over to the books, pulls out a title. Yoga for Healthy Aging and Longevity. Scoffs, places it back on the shelf, notices an upright piano, crosses to it, tinkles a few keys, walks into the kitchen. Interior ada's kitchen Night. Ada sits at the table with a uniformed officer. Another officer stands in the background. Ada still wears daytime clothes. Her hands are folded in her lap. She stares straight ahead. Detective Curtis takes a seat next to her. There is mail on the table. He picks up an envelope, looks at the name.

[Detective Curtis]

Mrs. Wells?

[Ada Wells]

Yes.

[Detective Curtis]

Are you the owner of this home?

[Narrator]

She nods.

[Detective Curtis]

Mrs. Wells, can you tell me who else lives here with you?

[Ada Wells]

Just my son.

[Detective Curtis]

And is that your son in the bedroom?

[Narrator]

Uh huh.

[Detective Curtis]

Has anyone else been in your home this evening that you're aware of?

[Ada Wells]

No.

[Detective Curtis]

Mrs. Wells, there's a tank of helium in your son's bedroom. Do you know anything about that?

[Narrator]

She still does not look at the detective.

[Ada Wells]

We have it for the balloons. Teddy likes to Teddy likes to let them go outside. The yellow ones are his favorite. He thinks it's like the SUNRISE Detective

[Narrator]

Curtis and the seated officer exchange glances.

[Detective Curtis]

Mrs. Wells, do you have any family in the area? Is there anyone we could call for you?

[Narrator]

She finally looks straight at him, takes in his face for a moment before she answers.

[Ada Wells]

They're gone. Everyone is gone. It's just Teddy and me. Has been for years. For as long as I can remember, really.

[Detective Curtis]

Hey. Excuse me for a moment, ma'.

[Ada Wells]

Am.

[Narrator]

He stands up, motions to the standing officer. They walk out of the kitchen into the hallway. Interior ADA's front hallway continuous Detective Curtis and the officer stand by the open front door.

[Ada Wells]

Hold on.

[Detective Curtis]

Possibly what do we know about this, son?

[Narrator]

The CSIs enter from the bedroom. CSI1 exits out the front door.

[Coroner]

We're done. You can sit in the wagon.

[Detective Curtis]

Suicide probably.

[Coroner]

Both sides of a struggle. The tank of helium popular with the final exit crowd. The artwork is a bit curious though.

[Detective Curtis]

A mental illness, maybe? Mom appears to have dementia. Could run in the family.

[Narrator]

Maybe taking care of her was just too much of a burden.

[CSI Technician]

Surprised it wasn't murder.

[Detective Curtis]

Suicide.

[Narrator]

CSI2 shrugs, steps aside for the coroner to enter Ready for me?

[CSI Technician]

Yeah.

[Detective Curtis]

Back this way.

[Narrator]

The officer leads the coroner away. Detective Curtis pulls a piece of gum from his pocket, steps out the front door. EXTERIOR ada's HOUSE PORCH CONTINUOUS Detective Curtis notices some commotion as Gina, 50s, hurries up the walk. She's obviously been woken up in the middle of the night. Officer 2 is close behind her as she heads towards Detective Curtis Ma', Am.

[Judge]

Ma', Am, you cannot be here. This is a potential crime scene. I'm going to have to ask you to leave immediately.

[Narrator]

She looks back at the officer.

[Gina Gordon]

CRIME SCENE oh my God. What happened? Are Ada and Teddy all right?

[Narrator]

He indicates to the officer he will handle this. Pulls out his notepad.

[Detective Curtis]

Detective CURTIS Ma', am, are you family?

[Gina Gordon]

No, I'm their neighbor.

[Detective Curtis]

And what is your name, please?

[Gina Gordon]

Gina. Gina Gordon. Where's Ada?

[Detective Curtis]

Ada, that's Mrs. Wells. The elderly female occupant of this residence?

[Gina Gordon]

Yes. Is she all right?

[Detective Curtis]

She is all right. She's inside.

[Narrator]

Gina calms somewhat, is more willing to talk.

[Gina Gordon]

What did the officer mean by crime scene?

[Detective Curtis]

How long have you known Mrs. Wells?

[Gina Gordon]

Since I was a little girl. I grew up in the house across the street.

[Detective Curtis]

And where do you live now?

[Gina Gordon]

Still there. I mean, I left and then I moved back after my divorce to take care of my parents before they died. My mother used to check in on her and now I do.

[Detective Curtis]

So Mrs. Wells has been ill for some time.

[Gina Gordon]

Ill?

[Narrator]

What do you mean?

[Detective Curtis]

Ada's not ill. Then why was her son taking care of her?

[Gina Gordon]

What? No. Teddy's not taking care of Ada. Ada takes care of him. She has his whole life. He has autism.

[Detective Curtis]

The drawings, right? Autism. Do you think that would have led him to commit suicide?

[Gina Gordon]

No. Teddy wouldn't commit suicide. He can't even talk. Oh my God.

[Narrator]

Where's Ada? Pushes past him, runs into the house. ADA INTERIOR ada's KITCHEN NIGHT Gina rushes in, sees Ada at the table, kneels down in front of her. Takes her hands. Detective Curtis follows, stands in the doorway.

[Gina Gordon]

ADA Ada Honey, what happened?

[Narrator]

Are you all right?

[Gina Gordon]

What happened to Teddy?

[Detective Curtis]

We're gonna need to take Mrs. Welts to the station.

[Narrator]

Gina stands up as if to shield her.

[Gina Gordon]

Now, in the middle of the night? What is wrong with you? She's 89 years old.

[Narrator]

The coroner wheels the body past the kitchen towards the front door. Ada does not react. There's complete silence except for the wheels of the gurney squeaking on the floor.

[Detective Curtis]

It looks like we have a few more questions for Mrs. Wells.

[Narrator]

Exterior ADA's House Night Detective Curtis escorts Ada down the walkway towards an unmarked car. Gina, close behind, punches buttons on a cell phone.

[Gina Gordon]

ADA it's going to be okay. I'm calling a friend of mine. She's a lawyer. We'll meet you at the station. Do not answer any more questions until we get there.

[Narrator]

The detective assists Ada into the backseat of the car, shuts the door. Gina yells at him, phone pressed to her ear.

[Gina Gordon]

You ought to be ashamed of yourself.

[Detective Curtis]

I'm just doing my job, ma'.

[Boost Mobile Legal Disclaimer]

Am.

[Narrator]

He gets into the driver's seat, shuts the door. INTERIOR POLICE STATION INTERVIEW ROOM NIGHT Ada sits at a table, coughs into a handkerchief. Detective Curtis stands nearby.

[Detective Curtis]

Would you like some water, Mrs. Wells?

[Narrator]

She nods. He pours a glass of water from a pitcher, hands it to her.

[Ada Wells]

Thank you.

[Detective Curtis]

You're welcome. You've taken care of your son for a long time, haven't you?

[Coroner]

Yes.

[Detective Curtis]

It must have been very difficult for you, all alone like that.

[Narrator]

She opens her mouth to respond, then

[Ada Wells]

remembers Gina said I should wait until the lawyer gets here.

[Narrator]

He takes a seat next to her.

[Detective Curtis]

Yeah, sure, sure. But you don't have to say anything. You're not under arrest. We're just trying to understand what happened tonight. The sooner we can sort it out, the sooner we can all go home.

[Narrator]

She speaks plainly, almost monotone, still in shock.

[Ada Wells]

I'm not senile.

[Narrator]

He casually reaches up a hand, indicates to start recording.

[Detective Curtis]

No, of course not. No one thinks that.

[Ada Wells]

I didn't lose my mind. I knew what I was doing.

[Detective Curtis]

You mean when you killed your son.

[Ada Wells]

I wanted his last day to be with me. At home. Peaceful.

[Detective Curtis]

Anyone would want that. Where did you get the helium?

[Ada Wells]

The party store delivers it. We get a tank every other week or so. Teddy loves his balloons.

[Detective Curtis]

And how did you know to use helium to kill your son?

[Ada Wells]

I read about it on the Internet. It said it would be fast and painless. I didn't want him to suffer.

[Detective Curtis]

And were you trying to make it look like suicide?

[Narrator]

A knock on the door. Detective Curtis rises to answer it, steps halfway out into the hallway. A uniformed officer whispers something to him. Detective Curtis leans back in.

[Detective Curtis]

Excuse me for a moment, ma'.

[Bethany Frankel]

Am.

[Narrator]

The door clicks behind him. INTERIOR Detective Curtis's cubicle. Night. Alexis, early 50s, a force to be reckoned with. Energy radiates from her even at this hour. Stands next to Gina. Detective Curtis approaches, smiles when he sees Alexis.

[Detective Curtis]

Ah, Alexis Martinez. Counsel for Mrs. Wells, I presume.

[Alexis Martinez]

Does she need representation?

[Detective Curtis]

Well, she did just confess.

[Alexis Martinez]

In that case, I'd like to know why my client was being questioned without me.

[Detective Curtis]

Well, she wasn't under arrest. We were just having a friendly chat.

[Alexis Martinez]

At four o' clock in the morning? I'm taking her home.

[Detective Curtis]

Oh, I'm afraid I can't let you do that.

[Alexis Martinez]

Why not? I thought you said she wasn't under arrest.

[Detective Curtis]

She wasn't when we were talking. But now that she's confessed to murder, I simply can't let her walk out of here.

[Alexis Martinez]

Yes, heaven forbid an 89 year old woman with no passport and no car who's barely stepped foot outside of her home in six decades should be out roaming the streets. Thank God you boys are keeping us safe from the likes of Ada Wells.

[Narrator]

She looks around. Several cops mill about, not doing much of anything except eating and drinking coffee.

[Alexis Martinez]

I would have confessed too to get the hell out of here. I'm taking her home. She's not a danger to you or anyone else. Will be back in the morning.

[Detective Curtis]

9am 11. She can't go home. It's an active crime scene.

[Narrator]

Gina steps forward.

[Gina Gordon]

She can stay with me.

[Alexis Martinez]

See? There, all settled.

[Detective Curtis]

And I am holding you responsible, Ms. Martinez.

[Alexis Martinez]

I think I can handle it. Now please release my client.

[Narrator]

He walks away, smiles as he hears Alexis call out friendly chat my ass. Exterior Gina's house NIGHT Gina's car pulls into the driveway. She exits, helps Ada. Ada looks across the street at her own house until Gina gently ushers her inside. INTERIOR Gina's dining room DAY Alexis and Ada sit at the table. Gina sets out mugs, pours coffee.

[Alexis Martinez]

Gina told me a little of your story on the way to the station last night. Taking care of your son by yourself and barely leaving the house for all those years. I can't even imagine. That kind of isolation, the effects on the psyche. You're an incredible woman, Ada.

[Narrator]

She takes a drink. Thanks.

[Alexis Martinez]

I'm not certain which way the DA is gonna go with this, but based on your, please forgive me, advanced age and the circumstances, I really can't see them pushing to prosecute this. So we'll talk to the nice officers and get you released on your own recognizance until we can get the charges dismissed. I don't want you to worry. Everything will be taken care of.

[Ada Wells]

I want to have a trial.

[Alexis Martinez]

Why would you want to do that?

[Ada Wells]

Teddy was smart and beautiful and gifted. But he couldn't take care of himself. I didn't want anyone to think after all those years, I finally just snapped. That's not what happened. It's important to me that people know he was my son and I loved him.

[Narrator]

Alexis tries to think of an argument.

[Alexis Martinez]

Okay, Ada, I promise you'll get to tell your story. But you should know this is the kind of case people like to use as a soapbox. If we go to trial, it could be very difficult for you.

[Ada Wells]

I'm not worried about difficulty.

[Narrator]

Alexis nods, gives Ada's hand a squeeze. Interior, dana's office. Day. Dana types on her laptop at her desk. Her assistant pokes her head in. Harvey is asking for you. Dana pulls out a compact from the top drawer of her desk, unnecessarily checks her appearance. Not a hair is out of place. INTERIOR District Attorney Harvey Davis, Office Day. The inner door is open. Dana knocks lightly.

[Harvey Davis]

You wanted to see me, sir?

[Narrator]

Harvey, mid-60s, all business. Exudes authority, waves Dana in.

[CSI Technician]

Dana, come in. Have a seat.

[Narrator]

She perches lightly on the edge of the chair across from him.

[CSI Technician]

How's Homicide treating you?

[Harvey Davis]

Well, it's very well, actually. I. I enjoy the challenge.

[CSI Technician]

Good. Good.

[Narrator]

He peers intently at her. She shifts slightly in her seat.

[CSI Technician]

Nice job on the Hanson case.

[Harvey Davis]

Thank you, sir. I appreciate that.

[CSI Technician]

Two for two in this department. Not bad. You're already earning a formidable reputation.

[Harvey Davis]

Thank you.

[CSI Technician]

Think you're ready for something a little more high profile?

[Narrator]

She sits up even straighter. If that's possible.

[Harvey Davis]

Absolutely.

[Narrator]

He pulls out a file from a desk drawer, drops it with a thud on the desk in front of her.

[CSI Technician]

Glad to hear that. Because I'm giving you the Wells case. Carter will second chair.

[Harvey Davis]

The Wells case? I thought that was going through elder abuse.

[CSI Technician]

Not anymore. The case is Gaining ground since the disability rights group got wind of it.

[Narrator]

She flips through the file, takes out a picture of ada, holds it up, studies it.

[Harvey Davis]

Disability rights? How so?

[CSI Technician]

The son had autism. So they're calling it open season on a disabled. Accusing society and the justice system of devaluing people who are differently abled. It's looking to get political. Too many photo ops not to.

[Narrator]

Turns his computer screen for Dana to see. CLOSE on screen Article headline reads, disability rights forefront of murder case.

[Harvey Davis]

It's only my third homicide and I don't have any political aspirations. With all due respect, sir, why would you choose me?

[CSI Technician]

A female prosecutor sits better on this one. The defendant's 89 years old. We don't want to look completely heartless. We're already up against the sympathy vote. Kendra's tied up with the Carruthers case and Lauren's about to go out on maternity leave. That leaves you. You look good. You speak well. Just be sure to brush up on your sound bites.

[Harvey Davis]

So I'm getting the case by default? Not because I'm the most qualified.

[Narrator]

He shrugs.

[CSI Technician]

As an admission, there's always a chance it won't be a win for you. But relax. It'll be fine. At least you have a confession.

[Narrator]

Alexis breezes in, waves a document in the air.

[Alexis Martinez]

Speaking of confessions.

[Narrator]

Harvey throws his hands up.

[CSI Technician]

Counselor, do come in.

[Narrator]

Alexis brushes imaginary lint off his jacket. He tolerates it.

[Alexis Martinez]

Harvey, always a pleasure. I can hardly believe I left all this behind.

[CSI Technician]

Dana, meet Alexis Martinez, opposing counsel and former ada. Sadly, she defected long before you arrived.

[Alexis Martinez]

Not fast enough. Pleasure.

[Narrator]

She offers her hand to Dana. They shake. Then she immediately hands Dana the document.

[Alexis Martinez]

Motion to suppress your confession.

[Narrator]

Harvey and Dana speak simultaneously.

[CSI Technician]

On what grounds?

[Narrator]

Alexis ignores Dana, speaks directly to Harvey,

[Alexis Martinez]

a frail elderly lady who wasn't properly Mirandized. Being questioned without a lawyer in the middle of the night? Come on.

[CSI Technician]

She wasn't under arrest at the time, as I understand it.

[Alexis Martinez]

Seriously, I can't believe you even filed this in the first place. A murder charge? And to place her in custody? I knew you were ruthless, but this is over the top, even for you.

[CSI Technician]

We represent the people, Alexis. You know that. They talk. We have to listen. Murder is murder, no matter who commits it.

[Alexis Martinez]

Oh, please. Save it for the reporters. That's not true and you know it.

[Narrator]

She whirls around to Dana.

[Alexis Martinez]

At any rate, there's something I'd like you to see. Are you free? For a bit.

[Narrator]

Dana looks at Harvey, who shrugs.

[CSI Technician]

Despite outward appearances, she's relatively harmless.

[Alexis Martinez]

Nice to see you too, Harvey.

[Narrator]

She strides out, does not wait for Dana, who grabs the file off the desk, scrambles after her. EXTERIOR ada's HOUSE DAY Alexis and Dana pull up in separate cars. Yellow CRIME SCENE tape hangs limply from one side of the front door frame. Alexis strides up the walk without looking back at Dana. Pulls out a key, unlocks the door, enters. Dana follows. Interior ADA's front hallway day the house is dark. Alexis moves towards the living room.

[Alexis Martinez]

This way.

[Narrator]

INTERIOR LIVING ROOM CONTINUOUS an old movie projector sits on a small table between two upholstered chairs. A screen is pulled down over the fireplace. Alexis crosses to the sliding glass door, flings open the curtains. Light floods in. Dana blinks to adjust her eyes.

[Gina Gordon]

Alexis Is that you? Sorry, I locked the door behind me. I wasn't sure how long I'd be. And there were reporters nosing around here this morning.

[Narrator]

She emerges from the bedroom hallway with a stack of clothing. Dana spins around.

[Harvey Davis]

Excuse me, who are you?

[Alexis Martinez]

DANA Gina. Gina, this is the prosecutor who's trying to convict Ada of murder.

[Narrator]

Gina narrows her eyes, takes a step towards Dana.

[Harvey Davis]

This is a crime scene. You can't be in here.

[Gina Gordon]

So I've heard. I came over to grab a few of Ada's things for when she's released tomorrow.

[Alexis Martinez]

Okay. I'll see you at the courthouse in the morning.

[Gina Gordon]

Okay.

[Narrator]

She leaves. With a parting glance at Dana, Alexis crosses to one of the bookshelves, pulls out several volumes.

[Alexis Martinez]

Dr. Atkins Age defying Diet. How to Live Longer and Feel Better. Neuroendocrine Theory of Aging. Life Extension Meditation Is Medicine Reversing Human Aging.

[Narrator]

She steps up to Dana, dumps the books in her arms.

[Harvey Davis]

Okay, what is all this?

[Narrator]

She struggles to keep the books from slipping, looks around for somewhere to put them down, then gives up, sets them on the floor just before they fall.

[Alexis Martinez]

ADA Wells attempt to outlive her son. The kitchen is full of supplements. DHEA, CoQ10, Resveratrol. Stuff I can't even pronounce. She's not a murderer, Dana. Look around this house. Books, vitamins, exercise equipment. She did everything she could to make sure she would open. Always be here to take care of him. Teddy lived his whole life here. This is all he ever knew.

[Narrator]

She closes the curtains partway, turns on the projector. Black scratchy lines snake across the screen. The film is very old. Home movies of Teddy as a child appear.

[Alexis Martinez]

She recorded some of this because she thought it might be useful one day. She hoped there would finally be a doctor who could properly diagnose Teddy and help him insert.

[Narrator]

Grainy footage shows five YEAR old Teddy in various stages of distress, hitting his head against the wall, screaming uncontrollably, lining up objects, flapping his arms, hitting his ears. A YOUNG ADA is seen in some of the shots. Through it all, she remains calm, does her best to soothe her son. BACK TO SCENE Alexis stays silent for a moment while Dana watches the film.

[Alexis Martinez]

Can you imagine trying to cope with this all alone, all but cut off from the rest of society, Trying desperately to help your child when no one else could tell you what was wrong with him, telling you instead that your best hope was to just lock him away. After all those years on her own, how would she know who to call or where to go for help?

[Narrator]

Dana remains fixed on the screen.

[Alexis Martinez]

She barely even recognizes the outside world anymore. Do you have any idea of the unrelenting stress she must have experienced every single day of her life?

[Narrator]

CLOSE ON MOVIE SCREEN Young Ada holds little Teddy tightly, rocks him as silent tears stream down her face.

[Alexis Martinez]

Drop the charges. She's been through enough. Prosecuting this woman does not serve anyone.

[Narrator]

Dana's eyes don't leave the screen.

[Harvey Davis]

The media's already all over this. People will want justice.

[Alexis Martinez]

Justice. Put yourself where she's been for even a moment. Imagine this was your life. Imagine he was your child. Think of all the heartbreak, the struggling, the guilt she must have felt. Where's the justice in that?

[Narrator]

Dana flips off the projector, faces her.

[Harvey Davis]

We're not in court, Mrs. Martinez. Save your argument for the jury. She could have walked away. She didn't have to kill him then.

[Alexis Martinez]

Make a deal.

[Ada Wells]

No.

[Harvey Davis]

No deals. She had a choice.

[Narrator]

There's always a choice.

[Alexis Martinez]

You're not a mother, are you?

[Narrator]

Turns the projector back on.

[Alexis Martinez]

Why don't you watch a little longer and then tell me what her choice was. I'll be expecting your call.

[Narrator]

Her heels click on the way out. Dana watches the screen, then looks around the house. Takes it all in. Fumbles to turn off the projector, rushes out of the house. EXTERIOR ada's HOUSE CONTINUOUS Dana stumbles down the front steps, blinks in the bright sun, takes deep breaths of air. Directly ACROSS THE street, Gina holds a garden hose, waters her front lawn. Dana sees her immediately, collects herself, walks quickly to her car. She grabs her door handle, pulls her hand back. The car drips with water. She looks over at Gina who shrugs slightly and turns away. INTERIOR dana's HOUSE FOYER DAY Dana enters through the front door, hangs her purse and keys on a wall hook. Her cell buzzes with an incoming call. She looks at the screen. It reads mom cell. She disconnects the call. Lets out a deep exhale. Interior Dana's living room. Continuous Dana's boyfriend, Ethan, mid-30s, looks like he would immediately be your best friend. As relaxed and easygoing as Dana is controlled. Watches ESPN on a split screen tv. A laptop open next to him. He looks up as Dana comes in.

[Coroner]

Hey babe. You're home early. What a nice surprise.

[Harvey Davis]

Looks like you're in the middle of an article. Don't let me interrupt.

[Narrator]

Gives him a quick kiss, ready to head off. But he grabs her, pulls her in his lap.

[Coroner]

You're a very welcome interruption.

[Narrator]

Kisses her longer, slower. They break apart. She looks as though she wants to say something.

[Coroner]

Everything okay?

[Narrator]

Yeah.

[Harvey Davis]

Yeah. Fine. I just got some case stuff in my head and I need to work it out. I'm gonna go change for a run.

[Narrator]

She disappears down the hallway towards the bedroom.

[Coroner]

Do you want to go out after? Or I can order in.

[Ada Wells]

In?

[Harvey Davis]

In would be better.

[Coroner]

Chinese. Maybe Greek. There's that new place that opened up downtown. I grabbed the menu the other day. It should be around here somewhere.

[Narrator]

He rummages through a basket under the coffee table.

[Harvey Davis]

You decide.

[Coroner]

Or would you rather do sushi unless you had it for lunch?

[Narrator]

Dana emerges from the hallway in running clothes. Jim shoes in hand.

[Harvey Davis]

Anything is fine. I'll be back later. Go ahead and order if you get hungry.

[Coroner]

I'll wait for you. It tastes better when you're here.

[Narrator]

She gives a little laugh, shakes her head, moves towards the front door. Halfway there she stops, turns back around.

[Harvey Davis]

You're probably better than I deserve, you know.

[Detective Curtis]

I love you too.

[Coroner]

Have a good run.

[Narrator]

She blows him a kiss. EXTERIOR CITY STREET MOVING DAY Dana runs, drenched in sweat and near exhaustion. Rounding a corner, she enters a crowded park. Turns on the speed, gives it everything she has. A soccer ball rolls into her path. She swerves to avoid it. Missteps. Falls to the dirt. A boy, Ken, has a prosthetic leg, runs over to claim the ball. Sorry lady. Are you okay? She nods, hands the boy the ball. Watches him run off. His prosthesis doesn't hinder him at all. INTERIOR dana's HOME OFFICE NIGHT Dana sits at her desk with a glass of wine. Types on a laptop. CLOSE on Dana's screen as she types in autism. The screen instantly fills with thousands of results. She clears it and types in Down Syndrome. The top bar of the results shows pictures of children and adults with a disorder. Dana stares at the screen, absently chews a fingernail. Sound of footsteps in the hall.

[Coroner]

Hey babe, do you want to watch something?

[Narrator]

She looks towards the door, her hand hovering to close the laptop if necessary, calls out.

[Harvey Davis]

Yeah, that sounds nice. I'll be right there.

[Narrator]

Ethan sticks his head in. She keeps her hand over the screen.

[Coroner]

Do you want some popcorn?

[Harvey Davis]

Uh, sure.

[Coroner]

Two minutes. Don't make me come back and get you. You worked long enough today.

[Harvey Davis]

I promise.

[Narrator]

He leaves. She looks back at the screen, clicks it off, finishes her wine. INTERIOR COURTROOM DAY ada, dressed in jailhouse clothes, stands with Alexis at the defense table. Dana across from them. The judge at the bench. Ada looks drawn, coughs intermittently. Gina sits behind the defense table.

[Judge]

The court has recorded the defendant's plea of not guilty. I assume, Ms. Jeffries, you have feelings about bail.

[Harvey Davis]

Will the State request remand, you, Honor?

[Alexis Martinez]

Your Honor, as Ms. Wells is neither a danger to herself nor to society and has limited means, we ask that she be released on her own recognizance. Remand is completely unwarranted, not to mention punitive on the part of the state.

[Harvey Davis]

Your Honor, the defendant did take the of her own child. The people are concerned Mrs. Wells may be suicidal and requests remand for her own safety.

[Judge]

While your concern is touching, Counselor, I'm not certain we need to keep Mrs. Wells locked up at this point. Is there a third party willing to take custody?

[Alexis Martinez]

Yes, you, Honor. A longtime neighbor and friend, Gina Gordon.

[Judge]

Is Mrs. Gordon present?

[Alexis Martinez]

Yes, you, Honor. She's right here.

[Narrator]

She turns around to indicate Gina, who stands up.

[Judge]

Ms. Gordon, do you promise to return the defendant to court when necessary and assure compliance with any other conditions set?

[Gina Gordon]

Yes, you, Honor.

[Judge]

Very well. Defendant is released to the custody of Ms. Gordon.

[Narrator]

The judge consults her court calendar.

[Judge]

Preliminary hearing is set for Monday, May 11, 9am Court is adjourned.

[Narrator]

The judge wraps the gavel. Gina comes around to the defense table, gives Ada a hug. EXTERIOR ada's HOUSE DAY Ada stands in her driveway. Wears a black dress, very dated. Gazes at her front door. Insert flashback 1960 Young Ada walks up the porch steps, carries Teddy as a newborn. Are you ready to see your new home, Teddy? BACK TO SCENE Gina crosses the street from her house, comes up behind Ada, touches her gently on the arm.

[Gina Gordon]

ADA Are you ready?

[Narrator]

Ada turns to her.

[Ada Wells]

He was a good boy. I loved him more than anything.

[Gina Gordon]

I know.

[Narrator]

She leads her to the car. EXTERIOR CEMETERY DAY Ada looks down at Teddy's grave. Next to it, a tombstone bears Ada's name and birth date. Gina and Alexis stand a few feet behind. A pastor speaks briefly with Ada, then walks away. She turns to Alexis and Gina Would

[Ada Wells]

you mind terribly if I took a moment. Alone?

[Gina Gordon]

Of course not.

[Narrator]

She gives Ada a hug.

[Gina Gordon]

Take all the time you need. We'll be in the car.

[Ada Wells]

Thank you. I don't know what I would have done without you. Both of you. You've been so kind.

[Narrator]

Gina and Alexis walked towards the car.

[Gina Gordon]

I'm worried about her, Alexis. She seems so lost and she's so thin now. She was always slight, but I think she's dropped ten pounds in the last couple weeks. She hardly eats a thing. Without Teddy to take care of, she hardly knows what to do with herself. Thank you for taking her case.

[Alexis Martinez]

Are you kidding? I would have taken it even if we weren't friends. You really care about her, don't you?

[Gina Gordon]

My mom used to always talk about Ada. How much she admired her for keeping Teddy at home. My uncle had cerebral palsy and my grandparents placed him in an institution. So I think that really struck a chord with Mom. The attitude towards people with disabilities was so different back then. Ada was kind of a pioneer, I guess. What's going to happen to her? ALEXIS?

[Alexis Martinez]

I don't know. I find it hard to imagine a jury would put an 89 year old woman in prison given her circumstances. But you never can tell. This case has a lot of potential to stir up a lot of emotion. Prosecution certainly seem to be gunning for her for some reason. Thankfully her house has been cleared so at least she can go back home.

[Narrator]

Without warning, Ada crumples to the ground. ADA they run to Ada, kneel down on the ground next to her. Alexis checks for a pulse.

[Alexis Martinez]

ADA can you hear me? Gina call 911.

[Narrator]

Ada opens her eyes, reaches out a hand.

[Ada Wells]

No, I'm all right. He just got to me. I just need to lie down for a while.

[Bethany Frankel]

Please.

[Ada Wells]

Please. I'm fine. I just. I want to go home.

[Narrator]

Alexis helps her sit up, checks her pulse again. Gina runs to the car, dashes back with a bottle of water, hands it to Alexis.

[Gina Gordon]

Here.

[Narrator]

Alexis helps Ada take a sip of water. Better? Ada nods.

[Alexis Martinez]

Okay, let's get you to your feet.

[Narrator]

Slowly now, they hoist Ada to her feet, walk her to the car, help her into the backseat. Gina shuts the door, turns to Alexis with a worried look.

[Gina Gordon]

Alexis, you have got to get the prosecutor to make a deal.

[Narrator]

Ada's not up for this.

[Alexis Martinez]

I know. I'll talk to her again.

[Narrator]

INTERIOR dana's OFFICE DAY Dana holds her desk phone to her ear. A mail clerk enters, sets mail down in front of her. A familiar blue envelope is on top of. Dana sees the envelope and tenses, nods a curt thank you to the mail clerk.

[Harvey Davis]

Yes. Thank you for your comments. I understand. Just, you know, thank you. Thank you very much.

[Narrator]

She hangs up. The phone rings again almost immediately. She groans, lets it go to her voicemail, throws the envelope in the desk drawer with all the others. She flips open the file in front of her, extracts a picture of ada, studies it. Alexis appears in the doorway.

[Alexis Martinez]

Good afternoon. Mind if I come in?

[Narrator]

Dana places the picture face down on her desktop, indicates the chair across from her. Alexis takes a seat on the corner of the desk.

[Alexis Martinez]

I'd like to ask you to reconsider a deal. My client collapsed today at her son's funeral. She's in no shape for a trial.

[Narrator]

Dana's phone rings. She ignores it.

[Harvey Davis]

I'm sorry to hear that. She can plead guilty, avoid a trial that way.

[Narrator]

Alexis just looks at her.

[Harvey Davis]

Okay then. Are you asking for a postponement?

[Alexis Martinez]

No, Dana. I'm asking for a little compassion.

[Narrator]

The phone rings again.

[Alexis Martinez]

Do you need to answer that?

[Narrator]

Dana picks up the receiver, sets it down with more force than necessary.

[Harvey Davis]

Compassion. The same compassion she showed her son. Sure, sure. Let me just figure out how I'm going to square that away with dozens of disability rights groups who won't leave me alone.

[Ada Wells]

Ah.

[Narrator]

She studies Dana, who automatically smooths her hair even though it's perfect.

[Harvey Davis]

Was there something else?

[Alexis Martinez]

It goes deeper than just winning this case, doesn't it? I recognize it. That need for approval.

[Harvey Davis]

I'm sorry, what does that mean?

[Narrator]

Alexis picks up a framed photo from Dana's desk, looks at it, sets it back down.

[Alexis Martinez]

This office won't help with that. Harvey has a way of making you feel like you're not quite measuring up. And before you know it, you've become someone you don't want to be. I remember when this was my office. I was a lot like you then.

[Narrator]

Dana straightens the photo to her liking.

[Harvey Davis]

Not to be rude, but I don't think you know me well enough to make that comparison.

[Narrator]

Alexis walks around the office, inspects Dana's degree.

[Alexis Martinez]

I was the only one in my family who went to college, let alone law school. My friends from the neighborhood accused me of thinking I was better than them. When I changed my name from Alejandra, they said I'd always be from the

[Narrator]

barrio, no matter what turns to face Dana.

[Alexis Martinez]

I was the only Mexican girl in my graduating class. Me, a scrappy, foul mouthed kid from the streets of east la, graduating summa cum laude from Stanford Law. I had a lot of doubts of where I fit in, but I always knew what I wanted to do and what was that?

[Narrator]

Alexis steps closer to her escape. My past.

[Alexis Martinez]

I poured myself into my work. I thought if I could only work hard enough, long enough, 16, 18 hour days, win every case, then I'd be good enough, worthy enough, my past wouldn't matter. But I learned the past always matters, Dana. You can't really go forward until you take a look back in law. And in life.

[Narrator]

Dana's phone rings.

[Harvey Davis]

I'll be sure to remember that. Thanks for the advice.

[Narrator]

Alexis moves to the door, turns back around.

[Alexis Martinez]

Oh, by the way, we'll be arguing substantial capacity. Under the circumstances. ADA couldn't appreciate the consequences of her actions. After the jury hears her tragic story, I'm sure they'll agree. Nice chatting with you, Dana. Don't let this office or Harvey eat you up.

[Narrator]

She leaves. Dana chews a nail, stares out the door. Harvey strolls in. Dana quickly pulls her hand away from her mouth.

[CSI Technician]

Was that Alexis Martinez I saw leaving?

[Harvey Davis]

Yes.

[CSI Technician]

And she didn't say hello. I'm hurt. What did the esteem Ms. Martinez want to rattle me?

[Harvey Davis]

Harvey, I'm concerned about the strength of this case. The confession is out and as of now we only have two witnesses.

[CSI Technician]

Do they both say she's guilty?

[Harvey Davis]

Yes. And I'm still waiting to hear back from the medical examiner and the psychiatrist.

[CSI Technician]

Then that's all you need. Don't let Alexis get to you. She's a sharp lawyer. I should know. I taught her. But this case will likely be open and shut.

[Harvey Davis]

Well, she's arguing capacity. Maybe we should offer a deal.

[Narrator]

He removes a cigar from his suit jacket pocket, goes through the process of cutting and lighting it as he speaks.

[CSI Technician]

Dana, do you know why I promoted you?

[Harvey Davis]

I assumed it was because I'm a hard worker who does a good job.

[CSI Technician]

Because you're black or white. There's no middle ground with you. No shades of green, gray. Someone's either right or they're wrong. Guilty or innocent. No deal. Dana that's what they call you. Did you know that?

[Narrator]

Puffs on the cigar to light it.

[CSI Technician]

You don't allow yourself to feel any empathy for the criminal and that's what makes you a great prosecutor. You have the absolute courage of your convictions. You never waver, so the jury never does. It's why you're sitting in this office and it's why you're trying this case. Don't go getting soft on me now, Dana. I'd hate to find out I was wrong about you.

[Narrator]

He blows a puff of smoke, exits. Dana retrieves a bottle from a desk drawer, sprays room freshener in the air, then leans back in her chair, stares at the ceiling. The phone rings again. Dana exhales loudly. End of act one. So let's take ten.

[CSI Technician]

Well bathroom break and then we'll recommend and do two. Dude, everybody, this is fantastic. Are you happy?

[Narrator]

Yeah. I mean this is just the official

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